Technoscience / Ecomateriality / Literature

There is currently a movement that is shifting the medium in which we read literature, from printed text to computer enabled literature. Electronic literature is relatively new and is still in the process of defining itself. The broader definition of electronic literature is currently, “work with an important literary aspect that takes advantage of the capabilities and contexts provided by the stand-alone or networked computer” (Electronic Literature Directory). In my opinion, this definition creates ambiguity as to what projects actually deserve or do not deserve literary merit for their work. The literary aspect is defined by Katerine Hayles in New Horizons for the Literary as “creative artworks that interrogate the histories, contexts, and productions of literature” (Hayles 4). The possible range in the scope of the literary within electronic literature is what makes this movement exciting. It gives writers and creators the flexibility to experiment and develop literary-focused projects that may fail to distinguish themselves as a electronic literature pieces, or may become projects that push perfectly far enough that they can essential redefine the classification boundaries of electronic literature. The extent to which the digital component can enhance the literary is limitless, and as there is further experimentation in this field, electronic literature will model itself under projects that are successful in intertwining the two aspects.

Not all projects are successful in aligning themselves under electronic literature, but one project that I enjoyed and molded under the electronic literature definition was Sydney’s Siberia. Jason Nelson produced this project while he was doing an arts residency in Newcastle. He took 121 different pictures throughout the city and created a poem. He used the use of infinite loops and zooming qualities that computers have, and created an infinite mosaic of the poem. Therefore, when you start the project on the internet, you have a small portion of the poem with a picture in the background and then you can zoom into the picture and find that the primary picture is actually comprised of tiny bits from a library of 121 pictures used in the poem and manipulated by variation of color to replicate just one of the pictures. You can zoom in forever, and you continue to discover all the 121 tiles within the poem.

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This certainly fits into the definition of electronic literature, because the focus of the project is the literary aspect and the meaning behind the poem. However, the poem is complemented by the interactive design generated by the infinitely coded mosaic as the reader is also in control of determining which picture (with part of the poem) to view next. I liked some of the verses within the poem, but what I found most enjoyable about the electronic literature piece was the power I had in controlling the direction I took in reading the poem. This piece reminded me of Daytripper by Gabriel Ba and Fabio Moon, and it was all due to the use of computer coding in presenting the poem. The Daytripper chapters were not presented in chronological order, and I feel that this made the graphical novel more powerful and thought provoking.

In the same light, Sydney’s Siberia poem is not presented in order, and this creates a user-defined order (with repetitions or not). This allows for a unique experience for each individual user and for each individual occasion. Since this project was one of my to study, I must have started Sydney’s Siberia at least 20 plus times. Each time, I took a unique route and by doing so, I had a different interpretation in attempting to make a connection between picture and picture. This sort of project not only had the typical challenge for a reader to try and decipher the literary meaning behind the poem, but it also had the dynamic challenge to try and link the fragmented stanzas. This makes each interaction with the project an engaging academic challenge. Another task for the reader that I noticed was simply trying to determine where the poem might start and where the poem might end. Without the use of the computer capabilities to simulate fragmented and basically randomized poem stanzas, the poem would not be as engaging or powerful. Projects like Sydney’s Siberia use this trans-medial approach with the goal of developing these “simulative, emergent, and participatory models” (Hayles 17).

Critics may argue that these computer-generated features within the project do not align with the literary aspect behind the poem, or that these simulating features might distract or disrupt the literary. In response, I say that these features can develop in sync with the literary meaning behind the poem and its production. In Sydney’s Siberia, my belief behind the digital mosaic was that the creator wanted to demonstrate the thought process that goes behind making poems based on ordinary objects. Making a poem is not necessarily a completely linear development and a big challenge in formulating a poem comes from being able to organize your thoughts in a sequential order. I think the infinite mosaic reaches a deeper level, connecting the reader to the poet’s writing and thought process in developing such a poem. I think the idea is that any poet can have great thoughts and lines but that the figuring out how to link and make a successful poem has its own merit to it. This is reinforced by Janet Murray’s comments about the advantages to process transparency, “calling attention to the process of creation can also enhance the narrative involvement by inviting readers/viewers to imagine themselves in the place of the creator” (Hayles 16). Murray is actually discussing the transparency in the creation of the digital aspect of the projects but this relates to my point that maybe Nelson created this digital support to allow for transparency behind in the production of literary aspect itself.

This does not mean that all the digital aspects in projects related to electronic literature align themselves with enhancing the literary, or even that my interpretation of the digital aspect in Sydney’s Siberia was the actual purpose, but it speaks about the potential embedded in the digital aspects of these new projects. It also reinforces that electronic literature can produce powerful material that may reach higher levels of connection between the reader and writer that no printed based literature will ever be able to reproduce. Electronic literature is headed in the right direction, and it will be through more years of experimentation in this field that great projects, such as Sydney’s Siberia, will emerge.


Gould, Amanda S. “A Bibliographic Overview of Electronic Literature.” Http:// N.p., 20 Apr. 2012. Web. 24 Oct. 2014. <>.

Hayles, Katherine. “Electronic Literature: What Is It?” Electronic Literature: New Horizons for the Literary. Notre Dame, IN: U of Notre Dame, 2008.

When the “cloud” and Internet appeared into the world, there was great debate as to how to classify or label this medium for communication and information. Many individuals, like Barlow suggested that cyberspace was separate from the material world and that the typical “legal concepts of property, expression, identity, movement, and context do not apply to [cyberspace]. They are all based on matter, and there is no matter here” (Blanchette 4). This approach to network data from the tech industry and its leaders such as Amazon and Google promoted a divergence from the material, in the hope to place digital information and networking on a pedestal above all else. Of course these tech companies want to brand the cloud in this manner because it places their valuable digital information (revenue generator), into an “untouchable” land where typical regulations and laws are a blur. The interesting part is that the false advertisement of data on an immaterial level is not hard to achieve. As we discussed in our recent seminars, the idea of a cyberspace with digital data was something that was envisioned many years ago. This idea was portrayed in many sci-fi movies and futurist shows, such that when we look up cyberspace in Google, we find bizarre photos that do not resemble anything close to what data centers look like.

This means that the general public assumes that cloud space, to be an immaterial one. This implies that the reality of a material perspective of the Internet and networked digital systems is the alternate view rather than the principle one. In personal reflection, I knew that the cloud was not really in a “cloud”-like space, floating in the immaterial, but looking at the pictures of the Google Data Centers and looking at hardware components solidified that reality in a harsh way. For example, I did not know about the wired tunneled underneath the Atlantic Ocean, I just figured that they wired it some how, but I always kept it in the back of my mind and just thought of “Wi-Fi” when I would Skype with someone abroad. My natural instincts to simplify my view of digital networks overshadowed logical and reason. This is a common occurrence and to change the general perspective of the digital network to a material one would be extremely difficult.

Even though it is a challenge, after processing the readings for this week, I think that the material in the digital needs to be recognized. It is a necessity, not because a running imagination is a bad thing, but that grounding the digital space to the material will also link the digital to the same laws and regulations that other mediums face. This is absolutely necessary because the more we allow digital data to become “untouchable”, the more access siren servers, like Amazon and Facebook, have to power and money.

Blanchette, Jean-Francois. “A Material History of Bits.” Web. 10 Oct. 2014.